 All right, new version here, there's no sound out and boom. All right, now you're mentioning here that you feel like the upper body is messy. That's a slight setback. I don't know. I think the biggest area to fix is this in the upper and head area where it feels messy like that. That's probably what you're reacting to the most. Things have gotten a lot cleaner. And for something like this, as a general tip, I would always look at what the root is doing first. Sudden speed changes, not going to happen down or too much or any kind of hiccups. And I feel like there's a little bit right there, right through there. It's a bit too fast. The thing is when that happens and it speeds up a bit, the root is going to affect everything around it. Obviously to some degree, it's going to fade out, but that is going to affect the chest for sure and then the head. So if you look at that moment, I can see a little speed up and then you look at the spacing and then you look at how you're moving your head back. You can see that suddenly we have this line here. Hold on. It's getting here. So imagine that wall. See this end? Boom. You got that moment of just hitting it. So now you have a sudden acceleration in here. Then it suddenly slows down, which slows down everything. And at the same time, it feels like you're rotating it back and doing something in the head here, where now you have a weird freezing into a space. It kind of locks until it moves forward. That to me is the biggest thing. I feel a little bit through there. It's a little bit of a pause, but the biggest point to me would be here. In terms of the broader mechanics and how things move, I argue that right through there and for this moment, mostly through here, what happens is I think is you're moving towards camera, like straight towards camera just for this section. And the tricky thing is with anything straight towards camera, you can draw lines here and you can see that it's not really deviating too much from those lines because it's too camera instead of doing a broader side step first. So if you're doing this and also don't forget any type of hip involvement, so you're lifting this leg up here, more weight is going to be on this. That hip is going to shoot up. It's going to be more like that until you put weight on this here and then you go into this. So what I would do is probably you can also bring that foot down sooner and then you can start leaning over to the left more instead of coming towards us. It's just going to help that little moment of warrant. It's also, it feels like the transient rotate is a bit even in timing too, like that's going to be your curve and then graph editor. Then this is probably the messiest part and there are a couple of things. You start to have a very isolated head orientation where you can see you're starting to have an overall curve but it feels already a bit broken where I would probably keep it more in line with this. That feels better, but you can see how that head just kind of moves separately. And once you do something like this and you have no facial bling starts or anything, it starts to feel very stiff and puppety and maybe that plays a part in how you're perceiving this. But now if you look at the spacing of the head, it moves over and then bam, you can see here this is the wall right there. Goes to the right, bam, stops. Then it moves to the left, but then kind of changes direction again a bit quickly. Then you have a little move will pop up to the right, then back to the left with a really fast drop. But then on that impact, it doesn't compress as much as in more down like this. You're going down and then immediately to the right and then immediately up into this. And even this doesn't have recovery up where you might go or that. It just goes up and then hits a wall again and then goes to the left. So if I'm looking at what's happening, this seems to be all through here. It's the chest that seems to be the culprit because I look at the root here and that seems pretty good if you ignore everything else. And if I can zoom in to just look at the root, it's more or less feels pretty good. So that, you know, you're going to be okay. So what is going on in the chest? Look at it from the side view. I'm slightly concerned that at this point, this is your stomach and then this is the upper body. And then you got the head here, you know, going the other way this way. And it doesn't quite feel like this feels like a bit of a broken section through there. And I think this is again happening here. This feels fairly straight and the chest is probably doing this. So make sure you're rotating the whole thing forward and so that you don't have this break. But also just watch your curves that you don't have anything where your curves, your rotations are suddenly like this. Or you have a sudden stop and it feels like that's what's going on. You got a rotation down and then you have a sudden rotation over this way and suddenly rotation over there. So all that is going to trickle into the head, which then makes a crazy arc. So I think for this section, really look at what the chest is doing. Because even here I see a slight change going back and back down again. So stabilize that chest, keep it as one nice line of action so it doesn't feel broken, right? And then look at maybe a camera from this angle. So you have a very clean compression and then return. And once that is cleaned up, it's going to automatically clean up the head as well. But once that is done, then you can do another head pass. Where you kind of look at what is going on and where you can track your arcs. But I would also slow this down. If I am playing this a bit slower, just that drop here feels better. And then there are little things. Like when you bring over this chair, this feels pretty broken, that wrist. You're going to have to watch a couple of things. You have that space that goes forward and suddenly it stops. You can see here, you have kind of a lock on that elbow right there. Our arm doesn't do anything. It starts to bend, but I have a really, really overrotated wrist. And it's very isolated there. Like it should be more at this point throughout. So here, you would have to bring that chair for this way or rotate it sooner. So that that wrist is more aligned and looking a bit more like this. Even that pushing it, that feels a bit more comfortable. And the rest feels pretty okay. My thing is the moment you start, you know, maybe tweaking a little bit of this, but mostly that, again, it's going to change what the arm is doing. So all of this is going to feel and look different. So I would wait with any type of fixes there. You still have a bit of a separate wrist move here, right? That feels a bit too far like this. I would just keep it fairly relaxed throughout and not have that wobble right there. But that's kind of that. I think it's better than you think. It might be just discouraged with this section there. I don't know. There's nothing else in the email. So this could be it. Let me know if that makes sense. And if you can, if you're able to clean this up and you know how to clean it up and look at your arcs, if not, send me your Maya scene. And I'll take away from this angle and I can record it. I can see kind of just quickly, just for this section, what is going on and how I will break it up into separate passes to clean things up. If that makes sense. All right. Thanks. All right. There's an email. You can sign up. You can start whenever you want. You can submit whatever you want. You get 16 submissions. 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